Archive for the ‘Reviews’ Category

Around this time of year just about every website ad nausea , roll out the their top ten or twenty horror films to join in the over crowded recommendation pile. So we at Thoughts on Cinema might as well join in. Below are eight carefully selected suggestions to binge all night long. To help in the order to watch them, there is a fear meter under : Scary fun-frights with a few laughs, Downright Disturbing- well done but uncomfortable subject matter, Chiller Suspense -moments of creepiness and mystery and old school classic - refined horror at its best.

If you don’t see the usual suspects like the Exorcist or the Shining, it was left off mainly because their already “go to” favorites everywhere else online, going to try some curve balls here and there. So get ready with your Netflix or illegally favorite torrent site, get that burnt popcorn going and see what nightmares are really made of.

Diabolique (1955)

Forget the remake with Sharon Stone, watch the french version instead. An abused wife and neglected mistress murders husband, only to find the body missing later and peculiar occurrences plaguing both women.{ Chiller Suspense}

Phantasm (1979)

Mausoleums, flying finger monsters, the tall man, spheres that drill into your head and killer dwarfs from another dimensions, What does it all mean, I haven’t a clue but this is the most original horror fantasy at that time and even now. { Scary fun}

Fiend without a face (1958)

The usual mishaps of science experiments gone way wrong.One of the few Sci-fi with a creepy feel to it. The appearances of the creatures once invisible is especially high on the eek meter.{old school classic}

Martyrs (2008)

Child abuse escalating into violent vengeance, which leads to something even worse. One of the few horror films that actually perturbed me. This is not for the squeamish.{ Downright Disturbing }

Carnival of Souls (1962)

Forget its low budget minimalist leanings, it actually works in its favor. Woman survives a drag racing accident that kills her friends, but the trauma has left her feeling disconnected to things and seeing strange figures that are not there. The atmosphere of unease permeates from scene to scene. { old school classic .}

The Descent (2005)

How dangerous could cave expedition be, our women explorers are about to find out, Oh yeah there is something down there alright. { Scary fun}

Noroi: The Curse(2005)

A found footage that actually has a story to it, this Japanese import deals with a paranormal documentarian investigating a case which in terms leads to his disappearance. The events are put together by the film evidence left behind. After awhile the unraveling tale creates a thick sense of dread to it. {Chiller Suspense }

From Beyond (1986)

Based 0n H.P. lovecraft ‘s short story. A machine called a Resonator is made to stimulate the human pineal gland, giving the person to perceive and enter another dimension where all sorts of big and small critters lurk. When the apparatus goes out of control…. well you can see for yourself. { Scary fun}

Portrait of a Stone Cold Killer: The notorious Ice Man Richard Kuklinski is still an enigma today. One can only speculate on what through in his mind as he disposed the bodies in a most gruesome fashion.

An ordinary Polish man, struggling to make ends meet in NJ, ran into all the wrong people who gave him an offer he could not refuse, and uncovered his true calling in life that of a remorseless killer. If you’ve heard the expression, “Skeletons in the closet” before, one would have to wonder if the notorious Richard Kuklinski had a walk-in closet that extended 7 city blocks. By the end of the Iceman, the mystery remained was there ever a soul underneath the relentless thick layers built upon over the years?

Directed by Israeli filmmaker Ariel Vromen, The Iceman was a biopic that didn’t feel the need to over explain every thing about its central lead. Thus it preserved a sense of mystery, an essential ingredient when filming a story about a larger than life killer. Glimpses of Richard Kuklinski’s past are portrayed through 2 lines of dialogue. He had an abusive upbringing and his brother was just as troubled.

Michael Shannon who has an affinity for uncanny roles and memorable performances, was a natural fit as Richard Kuklinski. No stranger to playing a subdued character with a constricted affect and disturbed, internally preoccupied look, he gave a character with very little background, some subtle personality and even a sense of humor in a complex role that called for emotional detachment at very intense, violent moments throughout the film. It was that delicate balance that made Kuklinski not unlike any person whose profession entailed making objective decisions in ending life.
As his character’s love interest, Deborah played by Winona Ryder juxtaposed Shannon’s performance as someone who was emotionally fragile, trusting, and hopelessly naïve. While Richard buried his emotions, he was drawn to Deborah because there was a sense he could see that she accepted being emotional and wore her emotions on her sleeve. The dynamic of these two lovebirds that inevitably start a family life became the focal point for Kuklinski’s motivations and need to lead two lives.

Like all mob related films, it became clear that the ability to lead two lives never worked out like it did in comic books. In the end, untrustable people have no qualms about selling someone down a river. While Ray Liotta mailed it in as his 4th sleazy low-level mobster role, the performances of David Schwimmer and Chris Evans added some fresh, quirky characterizations, sporting some of the grungiest looks and fashionable staches.

For the great performances, The Iceman rated fine bourbon that became more and more complex as you worked your way to the bottom of the glass.

A Bitter Pill to Swallow: Beech played by Morgan Freeman shines a light in the dark for Jack played by Tom Cruise and this time, there’s no red or blue pill to choose from.

Sometime in the near future, mankind endured a catastrophic alien attack that wiped out most of human life and civilization. Stationed above the Earth in an outpost resembling a condo designed by Apple overlooking what was once NYC, Jack (Tom Cruise) and his partner Victoria (Andrea Riseborough) are a watch dog/maintenance team entrusted with surveying the last collection of vital supplies before accompanying the mission to travel to the next star. When the departure date became imminent, Jack’s intuition caused him to have second thoughts about the course laid out for him. Like an itch he couldn’t scratch, Jack questioned orders and started to investigate on his own without authorization. His behavior pattern might suggest a psychotic break or the possibility that there was something wrong?

Director Joseph Kosinski brought together familiar components from 1970s Science Fiction films such as the Omega Man and Silent Running. When Cruise trekked out into the wasteland, there was something contemplative about man’s mortality, his legacy, and how at peace the Earth looked. Similar to his previous film Tron Legacy, he brought a polished, sophisticated use of computerized special effects that never failed to inspire a sense of beauty in the midst of urban ruin. Oblivion was a good-looking movie that one might not even need dialogue to enjoy the art captured its camerawork.

However the story suffered from too many cliché plot twists that never raised the bar from the material it was inspired by. Even though Tom Cruise was electric and his presence was commanding, familiar roles played by Morgan Freeman and Olga Kurylenko flattened out the performances. In the last 10-15 minutes Oblivion delivered an ending that didn’t offer many surprises. Thus the film became generic.

Oblivion offers the familiar distinguished taste of a house brew. It won’t make you regret you had it but it won’t compel you to drink another.

Bad Company: Thanks to horribly repetitive horror/suspense films, not every one in America may be proficient at handling disaster drills but no one in this country will hide under the bed during a break-in.

In the tradition of nihilistic not-so-distant future satires the Purge, a right wing American act to deal with interpersonal conflict, legalized manslaughter for 12 hours and somehow that release of aggression has eliminated crime and unemployment for the next 364 days of the year. Ethan Hawke, played James Sandin, an unscrupulous home security salesman who celebrated the Purge like it was the Christmas holiday. Business for home security systems against invaders was never better for those who could afford them. To further draw parallels, the day was commemorated with blue flowers that harkened back to the tradition of putting out poinsettia plants on Christmas. While James Sandin and his wife played by Lena Headey acknowledged the Purge, they were not participants. They chose to stay home, protected by their security, divorcing themselves and their kids from the psychotic, senseless slaughter outside their door. When his naïve son offered shelter to a homeless man fleeing a hunting party during the Purge, the successful suburban American family faced an unpleasant moral dilemma: Sacrifice the homeless man marked for death and guarantee their families lives but lose their dignity and children’s respect. Save the homeless man and take their chances with their lives at stake.

James DeMonaco, director of Assault on Precinct 13 (2005) and The Negotiator is no stranger to Mexican Standoff scenarios where every one with a motive is a threat and no one can be trusted. The build up tension was well played until the siege had begun and the participants were put in motion. From that point, the film steadily de-evolved into a level of predictable, repetitive stupidity more reminiscent in schlock horror but without the dark humor. Missing from the carnal stew was a few slices of well placed socio-political dark humor that director Paul Verhoeven delivered in Starship Troopers and Robocop. Without the humor the story became too concentrated in one area and the film unraveled quickly and clumsily. Still there was just enough with the enticing premise to warrant a sequel where one hopes the morning after the Purge, the writer/director explain how they prevented soaring health care costs and call outs.

As a result, the Purge could have been that bargain worth 5 times its value. Instead, it really was a $4 beer special sold at market price.

Hormones in Space: Young Captain Kirk played by Chris Pine (left) drinks obsessively, sleeps around, and disregards Star Fleet regulations until Admiral Pike played by Bruce Greenwood (right) gives some fatherly advice on how to be a better Captain.

The Romulan Ale fueled fraternity of rule breakers are back, in Star Trek Into Darkness, the sequel to JJ Abrams’ re-imagining of Star Trek as Animal House meets Star Wars. After having survived a Romulan attack from the future, raw and inexperienced Captain Kirk and his crew have learned very little from the lessons bestowed upon them by Admiral Pike and the elder Spock from the alternate time line. After having survived a near death experience forcing the crew to break the Prime Directive, Kirk and Spock still has trust issues to the point where the younglings aren’t even sure they like each other. To further complicate things, young Spock struggled to balance his duties as a first officer and continuing to dip his pen in company ink with Communications officer Lieutenant Uhura. If that resembled an episode of Beverly Hills 90210 in space, the film was very much an angst ridden tweener drama with shots of Romulan ale if not for a post 9/11 trope that involved two villains, looking to escalate the tension between Starfleet and the Klingon Empire. Unfortunately there are no POV outside of Kirk and Spock to give any fresh insight to make the stand off on the edge of Klingon space more dynamic. Benedict Cumberbatch played the rogue mystery man at the center of the storm. When the money shot of his true identity was unveiled, one should have expected a bewildered, “So What?” from an inexperienced Kirk, a confused, “huh?” from most of the audience born after 1989, and from long time Trekies “Groan.”

Cumberbatch’s performance had a cold, calm, calculating presence but his role was nothing more than a plot device to quicken the pace to a sprint at the end with not a moment to contemplate the meaning behind all the running, shooting, explosions, and screaming. The standout performance was Zachary Quinto as Spock. His performance has elevated Spock as the center of Abrams’ universe. He distinguished himself from Nimoy in that Spock used his cold logic as a defense mechanism to be cruel to his human crewmates. Apparently Vulcans have learned the value of embrace your stereotypes. Chris Pine’s Kirk took a back seat as a punching bag and always 3 steps behind the other superior alien characters. This depiction of a fatherless Kirk was very unlikeable in that he’s just plain foolish at every juncture. Shatner’s Kirk was always a coy, brash young man but he wasn’t stupid. Kirk’s recklessness had a virtue. His ability to provoke his opponent into doing something foolish. Re-imagined Kirk just did the most foolish things without any rhythm or reason. It didn’t seem to be necessary to have Kirk in the Captain’s chair at this point. Something one wonder could very well happen if Pine decides to take on another franchise.

In the last 20 minutes the obligatory fan service was hastily slung around, having ignored plot holes it generated so Abrams could deliver the theatrical climax of a giant vessel rammed through downtown San Francisco that realistically slaughtered thousands. To top that gratuitous scene, a final chase between Spock and his nemesis on top of moving transport ships. When the bad man was put away, there’s cut to a nice speech on a clear day about duties and value in the face of terror that never addressed the fact, Kirk and his crew had to break every rule in Star Fleet bring an end to this conflict.

Captains are supposed to make the ultimate sacrifices for the crew but that was never Kirk’s problem. His problem was putting himself in constant jeopardy that led to others taking the hit. Lost in the ADD of CGI was all the life lessons, which made Star Trek so much more contemplative. Instead, its a look that continues to be shallow. Despite the clean, polished look of the film, I have to rate Star Trek Into Darkness a lite beer. It’s not completely unsavory but it never left me with anything memorable. Instead it made me cherish the original Kirk and Spock even more.

With apparently no end in sight, the “found footage” ploy rears it’s over used head again in Scott Derrickson’s Sinister. The approach this time around is to combine it with back to basic film narrative as the story plods along. There is however a wonderfully eerie scene at the beginning with an old Super 8 film shooting from a distance. A family of four, hooded and bound, slowly being hanged from a tree mysteriously. Bodies in marionette motion, dances silently in the air before coming still. Losing that effective momentum, the movie jets ahead to the present as a new family moves into a house, headed by a once successful crime novelist Ellison (Ethan Hawke). Unbeknownst to his wife Tracey ( Juliet Rylance) and the kids, the previous tenants were murdered of which Ellison is secretly researching for hopefully his next bestseller. In the attic he discovers a set of Super 8 films (yea you know where this is headed), each depicting the gruesome demise of other families in different fashion. Upon a second viewing, because we know once is not enough, a spectral visage appears in the background. Rather than turning over the found evidence to the local authorities, he splices, edits and digitally downloads the films to his computer ( a expertise not seen since Spielberg first picked up a camera) consults a professor of the occult Vincent D ‘Onofrio (clearly doing a cameo cash grab here), who tries to keep the story on track..sort of.

The snuff footage is effective but directer Derrickson doesn’t have a follow up to sustain it, it’s all the cliches of movie horror past–overly long with a meandering third act. Having Hawke’s character wander three times around a darken house, without the common sense to turn on a light switch for at least two of the occasion is redundantly clumsy. By the way the demon that shows up serves no purpose other than what not to wear next Halloween.

Wes Craven created a booming franchise with the iconic horror monster Freddy Kruger, a phantasmal killer with homemade razor claws to slash the many cannon fodder teens unlucky enough to get in his way. Several mediocre sequels and a failed anthology TV series later, we see the inevitable reboot of the series in this DVD release. In this version we get an added origin of sorts as Kruger, with the silly point of him being a notorious pedophile (which adds nothing to the story, but it’s there in case murder wasn’t evil enough) is chased down and burned alive by the irate parents. Of course with every evil character, he survives to wreak revenge on the grown kiddies of the next generation. Asides the emphasis on the origin, movie pretty much sticks quite close to the original, But where Craven took his cues by emulating EC horror comics of the 50′s, giving it a fun, garish and gory style, this imagining takes itself too seriously, losing the comic aspects of what made the first Nightmare so memorable. I would cite the performances, but the truth of the matter is, all of it was just serviceable, the 80′s version had this acting awkwardness that added to it’s goofy charm, in comparison the new version seems mechanical and very lethargic, offering nothing more than another gussied up retread to get your attention.

A dedicated but scrawny and sickly Steve Rogers (Chris Evans rebooted from the Fantastic Four) agrees to go through an experimental serum that would transform him into the Iconic, flag waving Captain America. Another in the never ending stable of superhero adaptation for the geek squad

Cap is the counterpoint to the evil Red Skull, played in cackling 101 Nazi-ness by Hugo Weaving.

The film jets back and forth between Captain being used as a prop to sell war bonds, all the while the Skull develops weapons of mass destruction, and trying to tap into the power of a rubic shaped cosmic cube, imbued with the powers of the Gods (Don’t ask).

The military and especially Colonel Chester Phillip (Tommy Lee Jones phoning this one in from his sleep) have doubts and trepidation about losing their lab rat Captain to the front lines, But help by boring love interest Peggy Carter (Hayley Atwell) and a suave Millionaire inventor Howard Stark ( father of Tony Stark’s Iron man), fly Rogers into enemy territory where he rescues friend Bucky Barnes ( Sebastian Stan) as well as hundreds of other military prisoners, proving he’s more than a road show commercial. This pushes the evitable confrontation to come between Captain America and the Red Skull.

Sounds good on paper, but on film, not much to cheer about.

Director Joe Johnston seems clueless in how to make a memorable battle, Action scenes are stitched together with no rhythm, and its all run, punch, leap, surrounded by a background of things exploding. The hero’s trademark speeches of American values while kicking ass, is muted for political correctness for the international film market. He’s just a guy in blue tights that just wants to help out.

Hugo Weaving doesn’t fair much better as the Red Skull, with old school villainy and no dynamic personality to really make him interesting, the trick relies on selling the trademark disfigurement as a makeup gimmick to keep you from not being bored and even that carries no weight, unlike the horrid visage of Nolan’s Two- face from The Dark night. It’s simply a marketing mask for this year’s Halloween.

Probably the biggest issue is Chris Evans as the titled character, he’s plain as un-buttered toast, the Captain is so bland, as to being nonexistent, and in some ways the film is simply a prelude to the video game, although from what I heard, it wasn’t much better.

Real American Hero: Sly and the AARP All-stars once again, answer the bell in the Expendables 2, an upgrade from the original but like a bad 80s porn gets bogged down in frivolous side stories.

by Ronald@thoughtsoncinema.com

Barney Ross and his Howling whiny middle aged Commandos wage war when psychopath mercenary stole a device that can track the plutonium in a lost former Soviet mine to make Iran or any rival to the USA into a nuclear power. The Expendables 2 was a major upgrade over the original Sunday nap, offering a lot of the showmanship and testosterone that long time fans of 80s Gun porn craved. What fans didn’t want, the 80s back story that never added to the ride but really drew it to a creeping halt. Nan Yu as Maggie amplified the sausage fest and reminded us that Stallone’s “Oh woe is me” gimmick has now evolved into a creepy Woody Allen with guns robbing a cradle. There should have been a line about the number of divorces Stallone went through that ultimately forced him to come out of retirement.

The savior of this film was Jean-Claude Van Damme as Jean Vill’ain, which was still a better name than Jar Jar Binks. Jean-Claude still had it. The swing kick/knife stunt was classic. His moves were poetry in motion. Van Damme’s panache and theatricality was a steroid injection that this retirement party sequel desperately needed. He was a credible threat amongst the red shirt villains. His cocaine fueled lines were the most enjoyable, “5 kilos of plutonium can change the world, imagine 5 tons…” If that didn’t reek of a deviated septum I don’t know what would be more transparent.

Inside jokes to every actor’s life and lifestyle didn’t stop with Jean-Claude’s lust to sniff Plutonium, Dolph Lundgren’s chemical engineering back ground and his fondness for mixed drinks, and Randy Couture’s cauliflower ear set up some catchy lines and comedic timing. On the other hand, Arnold Schwarzenegger was working off the rust with “I’m Back.”

Perhaps this movie suffered from Stallone’s blind love for that 80s action formula. The first 10 minutes of the Expendables 2 delivered action, explosions, gun porn, exploding heads and right camerawork. The movie should have stuck with one long battle, fighting their way out of the jungle. It would have better complimented the drop in guest star spots by Chuck Norris, Bruce Willis, and former governor Schwarzenegger. Instead Stallone tried to plug in the inability to form attachments as the consequence of the lifestyle of a buff lone gun man. Emotional de-tachment was an excellent element if not for the fact there’s no weight pulled as these killers are exchanging catch phrases, cracking jokes at each other’s expense, and having a good ol’ time boozing it up at their watering hole. It’s that glaring flaw that convinced me that some things should remain in the past.

Guiltless gun porn and flaky personal problems have me convinced Expendables 2 is a PBR for nostalgia but nothing you don’t need to make a habit of.

Drawing Lines: 2011 saw video game industry exert its muscle towering over the Comic book booths like skyline of NYC. The effect gives credence to hybrid geeks and nerds. Good or bad? Depends on your interests.

NYCC 2011 Retrospective Part 3: One Old Comic Book Fan’s Opinion by Ronald Hugh Pollock

For over thirty years, I’ve collected comic books. I spent my Summers at my aunt’s flat in Brookline, Boston during the late 70s to early 80s. My cousin Joey attended Boston College for undergrad and he took me to my first comic book store. I don’t remember the name of the first comic book store I stepped into with my cousin Joey. I remember the smell of stale newsprint and endless rows of comic books. Every thing felt old, worn, and faded. My first book bought by my cousin Joey in Boston. It was Wolverine #1 (limited series). I also bought Daredevil #183 and Invincible Iron Man #100.

Back in Detroit , I discovered a comic book store, Comic Kingdom was open a few blocks away from where I went to school. My routine was set after 2nd grade. I would walk and buy a slice at the local pizza parlor that had 5 inch thick bullet proof glass ceiling to floor, drop my money in the metal box, and then the slice would appear, go two doors down where iron bars covered the doors, windows of the shop and added Avengers, Batman, Superman, and Justice League of America to my reading list. The owner reeked of alcohol. Didn’t deter me, all I wanted was on those shelves. The stack of books I would buy for $5 would keep me entertained for days. Couldn’t wait for the next week. Over the years, the shops have changed but the routine remains the same. Today every Weds at 0800, I wait outside Midtown comics branch on Fulton Street to open for my books.

Star Power: Feeling a part of the Con is an integral part of the experience.

My first Comic Con cost $6. It had maybe 1-2 signings and vendors selling back issues, bootlegs to Japanese anime on bootleg that were on beta. VHS was more expensive and rare. Laser Discs were the most commercially successful at the time. There were very, very few women per 100 nerds and geeks. No “Cosplay” or costume play kids were in attendance. If you didn’t know better it was a retiree party with no music or pulse but zombies moving around from table to table with a few dollars to haggle.

Magic Carpet Ride: Wonder what would nerds and geeks would say today if they looked at what comic conventions were.

Times have definitely changed. Comic Cons are the modern day State Fair. They cater to the modern nerd or geeks, which are hybrids of the purists that I grew up with. Hybrids are like Midwesterners at a buffet table of geeks that spent their money on a percentage of interests. Video games, movies, TV shows, blu-ray, costumed dating games, and card games have eaten into the amount of disposable income available for comic book creators. In 10 yrs, I have to wonder if comic books will even be sold at these massive entertainment extravaganzas that are coming more like mini film festivals. No longer a convention for the socially inadequate, mainstreaming has embraced comic books and it’s marketed as something anyone and every one can feel perfectly normal. In a way, that takes away the intimate feelings the die hards enjoy. One wonders what will happen of the last remaining rag tag group of misfits?

Rock Stars: Celebs are unaccustomed to rabid NYers who like to challenge and interrogate the privileged. The expression on Doc’s face when a question asked, “What did you do as real jobs? (before you hit it big)” was priceless but when the audience isn’t into it, a panel fails to bring the audience into the conversation.

The best way for an old school comic collector is to share his experiences with friends old and new. It’s no longer how much you can buy, get for free, or exclusively share or own. It’s learning about how the new generation enjoyed their experiences to keep this oasis of fantasy.

Geek becomes sheik: Enjoying company and exchanging experiences, building memories is the BEST way to enjoy Comic con.

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Thoughts on Cinema is dedicated to film reviews. An uncompromising opinion on the intellectual, artistic, and entertainment value to the consumer. With rising ticket prices, we dedicate ourselves to present to you content regarding what you should or should not be viewing.
-Ronald H. Pollock Founder and Editor in Chief